CINEMA PROGRAMMES

Taranaki Daily News, 14 March 1935, Page 11

CINEMA PROGRAMMES

REGENT THEATRE. “DESIRABLE” TO-NIGHT. Quite one of the best pictures seen lately is “Desirable,” the story of the unsophisticated daughter of an actress—a story full of sweetness and pathos, made still more appealing by the excellent acting of the attractive Jean Muir, the beautiful Veree Teasdale, and big George Brent. The Regent is fortunate in securing a picture-drama full of brightness and wide appeal, also a new actress with such a magnetic personality as Jean Muir. The simple, tnisting nature of the daughter Lois (who toys with love as a romance), and the hard, experience-shaped character of the mother (to whom love is a physical realism) provide the contrast on which the play is buiit; and the plot gains in subtlety when one man (George Brent) becomes the target of both the mother’s passion and the daughter’s reverence. There is a full supporting programme. EVERYBODY’S TO-DAY. “THE COUNT OF MONTE CRISTO.” “The Count of Monte Cristo,” now screening twice daily at Everybody’s, is definitely one of the finest of screen achievements, and patrons who have not •seen it are urged to make strenuous efforts to do so. Robert Donat and ElLsa Landi head a cast' that brings the characters of Dumas’ classic amazingly to life.. Portrayed by two of the greatest young dramatic actresses of the day on the stage, the role of Elizabeth Barrett in “The Barretts of Wimpole Street,” fits Norma Shearer like a glove in the Hollywood film version of Rudolf Besier’s sensationally successful drama. Those two actresses were Margaret Rawlings, who played the part in England, Australia and New Zealand, and Kath-

arine Cornell, who had amazing success with it in the U.S.A. Besier, incidentally, is estimated to have made more money out of this play than any playwright has done for a decade, excepting only perhaps Noel Coward and his “Cavalcade.” “The Barretts,” with a cast composed of such players as Norma Shearer, Fredric March as Elizabeth’s young lover, Robert Browning; Charles Laughton as the odious sensualist, Edward Moulton-Bar-rett, Elizabeth’s father; Maureen O’Sullivan as the rebellious younger sister, Arabell Barrett; Una O’Connor’s brilliance as the perfect maid, Wilson; and finally, the incomparable “Flush,” a grand Cocker spaniel, as himself—cannot help but march on to box-office success. Charles Laughton has his first role since his clever comedy part in “The Private Life of Henry VIII.,” for which he was awarded the coveted gold statuette of the American Academy of Motion Picture Arts and Sciences. The film of “The Barretts of Wimpole Street” will begin a season at Everybody’s next Saturday at 2 and 8 p.m. The box plans are now open at Collier’s. OPERA HOUSE TO-DAY. JOHN GALSWORTHY’S “LOYALTIES.” One of the world’s oldest and everpresent problems is fearlessly portrayed in “Loyalties,” the universally praised John Galsworthy drama of real life which screens twice daily at the Opera House to-day and to-morrow. Galsworthy’s story is no defence of the Jews, neither is it an attack on them; and therein lies its greatness. It shows with wonderful sympathy and intuition the siege of the forces in both directions. “Loyalties,” that so govern our lives to-day, is the theme of the drama, a theme that is brilliantly depicted in its various phases. . . . Loyalty to one’s faith, loyalty to friends, and, most strikingly, the loyalty of a young wife to her erring husband. The story opens at a house party at Newmarket during the races, where the smouldering animus of Captain

Dancy, impoverished army officer, against de Levis, a wealthy Jew and social climber, is fanned into flame by the latter’s accusation of Dancy who, he charges, has stolen from him a large sum of money. Loyalty to class and to race is seen in the die-hard support accorded to Dancy by his society friends, and a crisis is reached when the Jew, with superb dignity, supplies a crushing retort to the insult thrown at his race. This paves the way for one of the most striking sequences ever shown on the screen. Basil Rathbone as the Jew, Miles Mander as his arch opponent, Heather Thatcher as a society star, and Joan Wyndham as the loyal young wife, head the long and notable cast of “Loyalties.” The first half of the programme is of a high standard. STATE THEATRE. “ONE NIGHT OF LOVE.” The management of the State Theatre, New Plymouth, advertises that the screening of “One Night of Love,” featuring the golden-voiced Grace Moore, is now entering on the final stages. Anyone who has not had the pleasure of witnessing this magnificent screen entertainment, should take this opportunity of being present during the final few days. Special matinees are being screened daily at 2 o’clock and the evening session commences at 8; Reserves may be without extra charge at Collier’s and at the theatre. KING’S THEATRE. “THE LAST ROUND-UP.” With one of the most popular ballads of the present time embraced in its 60 minutes of fast-moving adventure, love, and thrills of the dangerous ’seventies, “The Last Round-up” will be screened at the King’s Theatre to-night. This col-

ourful exposition of gangdom on horseback, preying on the gold-rush adventures of California and Arizona, brings the song “The Last Round-up” to the screen for the first time. Randolph Scott as the hero, Jim Cleve, is said to give the best performance of his career. Barbara Adams, making her debut as Joan Randall, is revealed as a striking new type of leading woman, while Monte Blue returns to the screen with an excellent performance in the role of Kells, the hard-riding legion leader. Other cast members include Fred Kohler, Fuzzy Knight, Richard Carle and Barton MacLane. The story is a vivid account of the raiding border legionaires, with whom Scott is forced to share his lot. PLAZA THEATRE. “BARRETTS OF WIMPOLE STREET.” The film version of Rudolf Besier’s noted play, “The Barretts of Wimpole Street,” is a triumph of the cinema. The picture will open at the Plaza Theatre to-night. The principal roles are played by three of the screen’s outstanding players, each of whom at some time has won the coveted award of the Academy of Motion Picture Arts and Sciences for the best performance of the year. Norma Shearer as ETzabeth Moulton-Barrett and Fredric March as Robert Browning, combine to make a memorable picture. The love story of Robert Browning and Elizabeth Moulton-Barrett is beautifully told. No greater laurels could be showered on any one picture than has been done with “The Barretts of Wimpole Street.” Critics the world over have hailed it as one of the most outstanding achievements in screen history, and when one thinks in comparison with such triumphs as “The House of Rothschild” and “Cavalcade” such criticisms almost need endorsement for one to believe what is genuine truth. One thing certain is that of all who see this nrtghty production, none will have cause to object to such criticisms.